Sony's ‘Madame Web' snags worst picture Razzie Award
LOS ANGELES, Feb 28 (Reuters) - 'Madame Web,' an American superhero film featuring the Marvel Comics character of the same name, nabbed the most wins at the 45th Razzie Awards on Friday, including worst picture, actress and screenplay.
The Razzie Awards are the annual Oscar spoof that spotlights Hollywood's worst performances.
'Seinfeld' actor Jerry Seinfeld's Netflix satire about the cereal industry, 'Unfrosted,' scored two wins for worst actor for Seinfeld and worst supporting actress for Amy Schumer.
Tying with 'Unfrosted,' 'Joker: Folie a Deux' and 'Megalopolis' were both crowned with two wins.
'Joker: Folie a Deux' won for worst prequel, sequel, remake or rip-off and screen combo, while 'Megalopolis' earned esteemed filmmaker Francis Ford Coppola worst director and Jon Voight worst supporting actor.
Coppola posted a response on Friday to the film's Razzie wins.
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A post shared by Francis Ford Coppola (@francisfordcoppola)
"I am thrilled to accept the Razzie award in so many important categories for @megalopolisfilm, and for the distinctive honor of being nominated as the worst director, worst screenplay, and worst picture at a time when so few have the courage to go against the prevailing trends of contemporary moviemaking!' he wrote in an Instagram post.
'In this wreck of a world today, where ART is given scores as if it were professional wrestling, I chose to NOT follow the gutless rules laid down by an industry so terrified of risk that despite the enormous pool of young talent at its disposal, may not create pictures that will be relevant and alive 50 years from now,' Coppola added.
The Razzie Redeemer Award, bestowed on a past contender who has 'gone on to better things' since being nominated for a Razzie, went to 'The Last Showgirl,' which stars Pamela Anderson.
More than 1,100 Razzie members from across the United States and about two dozen other countries vote on the awards, according to the Razzie website.
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Wicked mulched down a distinctive and characterful stage show to the point that it could be strained through a fine-mesh sieve. Slop may be dismal, but every example above ranks among the most successful films in its year of release. So do we all love slop, or have we simply grown used to it? The case for the latter looks more convincing when you notice it really began to proliferate during Hollywood's quote-unquote 'woke era', when every other sci-fi and fantasy blockbuster was sold as protest art to court terminally online Gen-Zs and younger millennials. But now the political posturing is drying up – commercial expediency cuts both ways, kids! – and pulling in every pig in the sty has become the industry's main priority. Hence, for instance, the endless reshoots to depoliticise Disney's formerly girlboss-themed remake of Snow White – which, thanks to months of divisive publicity, went on to bomb earlier this year regardless. 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